2024 Recipients

In July, I had the amazing opportunity to participate in the Barcelona Festival of Song’s 20th-anniversary program, founded by the truly incomparable Dr. Patrica Caicedo. The ten days were focused entirely on music outside the Western canon: specifically, Latin American and Iberian art songs in Spanish, Catalan, and Brazilian Portuguese. I worked on songs by composers I had never heard of before (but have definitely fallen in love with now) like Eduardo Toldra, Joan Comellas, Alberto Nepomuceno, and Edmundo Villani-Côrtes. I also got to sing one of my favourite Spanish songs, El Vito by Fernando Obradors with guitar, which was so much fun.

Every day we had intense training, masterclasses, and lectures. The morning lectures were given by special guests, such as Andrea Adour, Douglas Bringas, and our esteemed professors Dr. Caicedo and Lenine Santos. They all brought an infectious and inspiring passion about their research. We learned about the historical context and importance of the songs we were singing, information that gave us what we needed to better express the music and lyrics. The masterclasses helped us work on our diction and stage presence. One of the most important aspects of art song is the text; so Dr. Santos and Dr. Caicedo made sure we were fully engaged and connected to the poetry in order to tell the stories to the best of our abilities. In the evenings, we had plenty of time to be tourists and explore the beautiful and vibrant city of Barcelona.

There are so many highlights from my time in Spain, but some that will be especially memorable are singing on a boat off the coast of Barcelona, going on a private tour of the National Library of Catalonia, and then the final student concerts at the beautiful Reial Cercle Artístic.

My time at the BFOS was the first time I could deeply explore music I truly love and have been curious about, and to do that with equally passionate students and emerging artists made it even more special. I will continue doing my part to decolonize art song and classical music. This was a life-changing experience and I am forever thankful to the Art Song Foundation of Canada for their support.

The 2024 participants in Barcelona

This summer, I had the incredible opportunity to immerse myself in all aspects of German Lieder at the Franz-Schubert-Institut, a five-week program in Baden bei Wien, Austria. The generous support I received from the Art Song Foundation of Canada played an integral role in allowing me to attend the program, for which I am extremely grateful.

Over the course of the five weeks, my duo partner, Odile Portugais, and I worked on over 25 Lieder by composers ranging from Schubert to Webern. In total, we performed in nine masterclasses led by eminent performers and pedagogues of art song, including Robert Holl, Elly Ameling, Wolfram Reiger, Julius Drake, and Helmut Deutsch. Each master brought a wealth of knowledge and artistry that was inspiring to work with and witness.

We also had the privilege of performing in historic venues such as the Haus der Kunst in Baden and the Kaisersaal at the Heiligenkreuz Abbey. One performance that was very special to me took place at the Künstlerheim, a retirement home for local artists in Baden. Odile and I were among the three duos selected to give an intimate concert for the residents. The opportunity for us to share our passion for song with such a receptive community was one of the highlights of my time in Baden.

Winnie Zheng working with Austrian actress, Gabriele Jacoby

In addition to masterclasses, we received classes in poetry and coachings in German diction. I especially enjoyed the poetry seminars taught by Natasha Loges and Richard Stokes, as both scholars presented enlightening views on cornerstone German poetry set to Lieder. The diction coachings, particularly with legendary actress Gabriele Jacoby, were also helpful in our understanding and appreciation of the nuances of the language.

During my time in Austria, I had the chance to explore the charming city of Baden and the surrounding areas of Vienna, Wachau Valley, and Soos. It was an absolute joy to discover the beautiful settings that inspired the composers whose music we were performing.

I would like to thank the Art Song Foundation of Canada for their role in making attending Franz-Schubert-Institut a reality for me. I will forever cherish the memories I made in the program, as well as the tremendous growth I experienced as a collaborative pianist.

I am immensely grateful to the Art Song Foundation of Canada for their generous support, which enabled me to attend the Franz-Schubert-Institut in Baden bei Wien this past summer. This enchanting town offers an experience that words alone cannot capture; it truly must be experienced firsthand to appreciate the beauty that unfolds there. The program’s organizers exude a genuine passion for both the repertoire and the rich cultural heritage of Austria.

The Franz-Schubert-Institut is a transformative five-week program in which singers and pianists come together to deeply explore German Lied, seamlessly blending poetry and music. Throughout this enriching experience, we had the privilege of learning from eight esteemed masters in the field, each sharing their unique insights. Daily coaching sessions with experienced professors not only sharpened our collaborative skills, but also illuminated our individual working styles. I was fortunate to work alongside two exceptional singers in a dynamic, fast-paced environment, continually inspired by the extraordinary talent of my peers. The strong sense of community was uplifting, with everyone providing unwavering support to one another.

My time at FSI also enriched my doctoral studies, as I am researching the connections between Schubert’s art songs and his chamber music. This focused exploration of Schubert’s Lieder has deepened my understanding of the inspirations behind some of his most celebrated masterpieces.

Once again, I extend my heartfelt thanks to the Art Song Foundation for their financial support, which made this incredible opportunity possible.

Chris Soong in a masterclass with German pianist, Wolfram Rieger

I want to offer my sincere thanks to the Art Song Foundation of Canada and to offer my report on the course I attended this past summer.

I was first made aware of the Franz-Schubert-Institut in 2020 by Michael McMahon and immediately began preparing to apply for the summer of 2021, but the program was cancelled that summer and the following one due to COVID. In 2023, the cost was prohibitive — even with potential support — and so I took on an extra job in the 2023/24 academic year, specifically to save for this program. With these savings and your support, I was finally able to make that dream a reality.

My time in Baden, and in the weeks leading up to it, offered me the most intense and thorough exploration of any one specific genre so far in my career. I have always been drawn to singing for the sound of the human voice and have known for some time that I need to strengthen my understanding and communication of text. My time at the Schubert Institut has firmly established a deep appreciation and increased awareness of what the great Lieder composers accomplished in their compositions.

Colin Mackey in recital in Austria

Early on in my post-secondary studies, I came to the realization that the learning we do in this field never stops and that you could spend lifetimes learning. And so it was amazing to work with singers like Robert Holl and Elly Ameling. Their passion, their warmth, their dedication, their humbleness was incredibly impactful. As I write this letter, I am actively preparing to make new audition videos to apply again for another summer in Baden. That place and this program have inspired me unlike any other program I have attended.

In conclusion, I offer my deepest thanks for the work you do and the support you offer.

I am deeply thankful for the generous support of the Art Song Foundation, which enabled me to attend the Franz-Schubert-Institut last summer and to embark on an unforgettable journey of music, learning, and friendship.

Taking part in this summer program was the opportunity to launch a new collaboration with mezzo-soprano Florence Bourget, and it was an absolute joy to work, exchange ideas, and grow together as a duo. We delved into a wide repertoire of Lieder, from Beethoven to Berg, and had the privilege of receiving guidance from leading experts such as Robert Holl, Michael Schade, Wolfram Rieger, Helmut Deutsch, Birgid Steinberger, Julius Drake, Elly Ameling, and Roger Vignoles.

The five-week stay in Baden bei Wien felt like an immense privilege from beginning to end. Every day, I had the opportunity to experience a full immersion in the German language, recite poetry, and dive in Austrian culture — also in a literal way when our group went for a swim in the Danube! Through concerts, masterclasses, German diction coachings, poetry readings, walks in nature, and numerous evenings of discussions and gatherings, I got more than a taste of the Austrian art de vivre. This experience showed me how valuable it is to be part of a community of Lieder enthusiasts and to learn from one another.

Florence Bourget (mezzo-soprano) and Rosane Lajoie

Thanks to the kind support of the Art Song Foundation of Canada, I was honoured to have attended the Franz-Schubert-Institut in Baden bei Wien this summer.

The Franz-Schubert-Institut offers a program that exposes musicians to vast amounts of repertoire. I studied over 300 different German Lieder, from Beethoven to Berg, through co-ordinated public masterclasses that allowed me to enjoy a constant state of learning from morning to night.

During this five-week intensive program, I had the opportunity to perform 27 German art songs in masterclasses for eight world renowned artists whose recordings and performances have long inspired me. Working with Robert Holl, Michael Schade, Wolfram Rieger, Helmut Deutsch, Birgid Steinberger, Julius Drake, Roger Vignoles and Elly Ameling, felt that I was learning from the source. They helped me to discover why art song continues to be culturally important in nurturing both our society and our souls.

Every step of the learning process was addressed, including classes in Austrian diction, acting, and collaborative and vocal coaching. This detailed and multifaceted approach to Lieder encouraged me to delve into the connection between music and poetry, an important focus in this program. I had poetry classes every morning with lecturers such as Richard Stokes and Natasha Loges. Here I learned how to bridge the gap between the written word and the musical score, and began to develop a critical eye for how to digest, decipher, and discuss German art song.

I was thrilled to have many of my coachings with Benno Schollum, Gabrielle Jacoby, and others completely in German. Another highlight of this program was being able to work with Canadian treasure Michael McMahon. The people who organize and teach at the Franz- Schubert-Institut create a supportive and kind environment in which to nurture our love of art song. I felt that these teachers really cared about passing their knowledge on to us.

The Franz-Schubert-Institut has already had an enormous influence on my musical journey. I look forward to continuing to discover how these five weeks in the small town of Baden bei Wien have changed my life for the better.

I would like to thank the Art Song Foundation of Canada sincerely for their financial help in making this incredible opportunity possible for me. I greatly appreciate their dedicated support of serious musicians, such as myself, to further our study of art song.

Fletcher Davis and fellow participants with Elly Ameling

Thanks to the generous support of the Art Song Foundation of Canada, I had the opportunity to attend the Franz-Schubert-Institut in Baden bei Wien, Austria.

During my time at the Institut, I had the unique opportunity to immerse myself in the rich tradition of German Lieder. The five-week immersive experience consisted of daily poetry seminars, masterclasses, music and diction coaching, and excursions into the Austrian countryside, all of which provided a good environment for the study and performance of Lieder.

The curriculum emphasized both the technical and interpretative aspects of Lieder, allowing students to explore the depth and nuances of the repertoire. Under the guidance of experienced faculty members, I engaged in intensive vocal training, focusing on breath control, diction, and expression. Each session was designed to enhance our understanding of the relationship between music and poetry, a hallmark of the Lieder tradition.

In addition to individual lessons, I participated in masterclasses during which we received feedback from accomplished masters. These sessions were invaluable, offering insights into performance techniques and the subtleties of conveying the text’s meaning through music. The school also organized regular recitals, providing students with the chance to showcase their progress. Performing in front of an audience was a good practical experience.

Overall, my experience at the Franz-Schubert-Institut was transformative, deepening my appreciation for German Lieder and enhancing my skills as a vocalist. I left with a continuing passion for music and a desire to continue exploring this genre.

Dariyan Dubik with Austrian pianist Helmut Deutsch

My experience at the Franz-Schubert-Institut in Baden bei Wien during the summer of 2024 was undoubtedly one of the most wonderful experiences I have had so far. I would therefore like to take this opportunity to thank the Art Song Foundation of Canada for their generous support.

Maxence Ferland in a masterclass with pianist Helmut Deutsch

The teachings received, in both masterclasses and individual lessons, were of very high quality. I believe the program has provided me with all the necessary tools to work on Lieder interpretation, tools that I will cherish and refine throughout my career. I must also highlight the impeccable organization by the administration, which demonstrated great professionalism and, above all, a wonderful human touch. I felt welcomed and well treated.

In addition, several excursions outside of Baden were organized. We visited castles and monasteries, climbed mountains, and journeyed along the Danube. These additional outings were not only enjoyable, but also deeply inspiring for us as Lieder artists. In short, this program at the Schubert Institut pushed my limits. It’s an experience I will carry with me for the rest of my life.

With a great interest in German repertoire and poetry, I had the great opportunity to participate in the Franz-Schubert-Institut for five weeks in Baden, Austria, over the 2024 summer. Each participant, working in a duo, performed a total of 27 German Lieder in open masterclasses for world-renowned collaborative pianists and singers such as Elly Ameling, Julius Drake, Robert Holl, and Helmut Deutsch. Every morning at 9:00 o’clock, we participated in a class of German poetry and performed Lieder in masterclass or in coachings. German diction was also at the core of this program. We also had the privilege of participating in social activities that were included in the program, such as hiking, seeing beautiful landscapes, and visiting neighbouring cities. We also had a boat trip on the Danube River. I am very grateful to the Art Song Foundation of Canada for having helped me financially with this incredible project.

Florence Bourget with pianist Rosane Lajoie

Five weeks, eight masters, 26 lieder, 23 performances in masterclass, four concerts, one mass, and many German-diction coachings, Feldenkreis workshops, poetry classes, and private coachings — this life-changing experience is hard to put into words; so I went for a few numbers instead! I’ve never done a program so intense yet so rewarding, and I am so grateful for this opportunity. I met truly inspiring teachers, as well as incredibly talented and passionate colleagues. The city, the music, the people, the art: everything was wonderful! It was a pleasure to experience this with Winnie, my amazing duo partner; we learned so much! Thanks a lot for your financial support. I will always remember my time in Baden.

FSI 2024 participants

In August 2024, I attended the 11th Source Song Festival in Minneapolis, MN. This week-long festival is devoted to fostering excellence in the genre of art song through educating young artists, creating new works, and drawing audiences into innovative concerts. I took part in the MN-duo program with my collaborative partner, Danielle Guina, and throughout the festival we worked intensively together on songs ranging from classics of the 19th-century to lesser-known gems by contemporary composers.

This year, the festival’s theme was Spanish art song; so we were treated to exploring works outside the standard art song canon through private coachings, master classes, and recitals, both performing ourselves and attending performances by guest artists. A major highlight was hearing soprano Ana María Martínez and pianist Myra Huang’s incredible recital of Spanish-language repertoire, and then coaching a little-known Rodrigo song with Ana María the next morning. Since there are not very many Spanish speakers in Canada, this was a fantastic opportunity to hone my skills in the language and style of these songs.

The rest of the faculty at Source Song Festival were equally amazing. Whether it was refining French diction with Margo Garrett, discussing contemporary poetry with Kathleen Kelly, or deciphering long Straussian musical phrases with Arlene Shrut, every session gave me useful knowledge that I can incorporate into all of my repertoire.

The festival culminated in a recital in which each of the eight duos performed repertoire they had coached over the week, and it was so powerful both to experience how our interpretation of our songs had changed over a short period of time and to witness the growth of our colleagues.

I also had the pleasure of working with local composer Jason Mulligan on one of his art songs, which I performed in a concert of all-Minnesota repertoire. In my opinion, collaboration is one of the best parts of being a musician, whether it’s teaming up with composers, other performers, producers, or audiences, and Source Song Festival embraced this aspect of the art form wholeheartedly.

More broadly, Source rejuvenated my love of art song, deepened my musical relationship with my duo partner, and inspired me to keep exploring new repertoire. I am so grateful for the Art Song Foundation’s support for my studies at this festival, and I can’t wait to see where art song takes me next.

McKenzie Warriner with pianist Danielle Guina

This summer, thanks to the generous support of the Art Song Foundation of Canada, I was able to attend SongFest as a Brown Loranger Fellow in Claremont, California. The experience was artistically enriching and inspiring, and I was so grateful for the opportunity to participate in the festival.

My time at SongFest started with almost daily masterclasses from the great Graham Johnson. The classes often focused on specific composers – there was a day of Wolf songs, a day of Faure songs, and of course many days of Schubert, the composer for whom Johnson has the greatest love and knowledge. I was fortunate to be thrown into the mix right from the first day of classes, singing Schubert’s Gretchen am Spinnrade for Mr. Johnson with pianist Runze Li. The piece, Johnson assured us, changed the genre of art song forever, and under his guidance we discovered more of what makes the song such a testimony to Schubert’s brilliance.

I also was selected to sing Hugo Wolf’s Im Fruhling and William Walton’s Daphne in some of Mr. Johnson’s later master classes. When we were informed that our tempo for Im Fruhling was all wrong, Mr. Johnson sat down and played the whole piece through with me singing — suddenly the ease and beauty and versatility of the song came through!

A few days later, Roger Vignoles arrived at SongFest. He led classes on French and German art song with his wealth of knowledge on style, language, and interpretation. In a coaching I had with Mr. Vignoles with pianist I-Hsiang Chao on Chausson’s Le temps de lilas, Vignoles worked the same passages over and over until he was sure we both had grasped the harmonic and textual structure of the song.

In my capacity as a Brown Loranger Fellow, I performed in a concert with five other singers and pianist/coach Lydia Brown from the Juilliard School. Dr. Brown selected some of the greatest song cycles for us all to perform — from Schumann to Duparc to Tosti to Strauss — and ended with a collection of songs by Charles Ives to celebrate the 150th year of the composer’s birth. It was a wonderful concert to be a part of, and a gift to be able to work with such a great collaborative guide.

In addition to exploring pieces by great 19th century composers, I-Hsiang, Runze and I also had the opportunity to coach and perform 21st century works as well. In a concert honouring the American composer John Harbison, I-Hsiang and I performed a cycle composed by Harbison’s piano teacher Robert Helps, set to the complex poetry of James Purdy. Runze and I worked one-on-one with composer Libby Larsen on her 2000 cycle My Antonia, based on the novel by Willa Cather.

My time at SongFest is something I will not forget. I took home with me advice and guidance that I will use in my musical future and was so inspired to continue to perform and interpret art song! Thank you again to the Art Song Foundation of Canada for helping to make my attendance at SongFest possible.

British pianist Roger Vignoles with participants

Thanks to the Art Song Foundation of Canada, I attended SongFest as a Young Artist/Professional Fellow; the course was held this year at Pomona College in Claremont, California.

Right off the bat, we were in the full swing of masterclasses, beginning with the residency of industry great Graham Johson. I had the opportunity to sing for him twice: in a Lieder masterclass and in a lecture class on the music of Fauré. I was very moved to sing in the presence of someone who spoke passionately of these composers’ lives and output and who understood the significance of every choice made, down to the last syllable.

For a culminating concert called The Songmakers’ Almanac at the end of his time at SongFest, he chose from among the selections heard in the various public classes. I was fortunate to sing the sole Brahms Lied in this concert.

Over the weeks, I got to coach with artistic director Javier Arrebola, Lydia Brown, and Liza Stepanova. Between performances and coachings, I audited more masterclasses than I can count, led by Roger Vignoles, visiting singer Lucas Meachem, and Lydia Brown, to name a few. A couple of wonderful lectures were given too. Composers Gabriela Lena Frank and Libby Larsen joined forces to discuss music, climate change, and song as a communicative force in environmentalism. Jamie Bernstein brought her lecture on her father’s life and lasting legacy in the musical world to us. Through these lectures and the accompanying performances, I heard a lot of new and contemporary music, which deepened my understanding of the American song tradition and what the future of song-making can look and sound like in our ever-changing world. This affirmed to me the necessity of artist-citizenship, and that our social responsibility as singing artists should be an operative force of our lives in music.

Even more than the study and performance of songs, I love to attend recitals. I was astounded by the completely inspired programming, from faculty recitals to the prize-winning singers of the program. In their home-coming recital, artistic directors Martha Guth and Javier Arrebola “sang us home” across several different genres of song and poetry recitation. One of my favourite recitals was one entirely curated, coached, and narrated by Johnson, which was a re-imagining of the journey of the two sisters of Così fan tutte told through song. A few Professional Program singers gave a fellowship recital with Lydia Brown that beautifully showcased their remarkable individuality and musical accomplishment.

I was fortunate enough to receive a fellowship from SongFest as well and to sing in another recital with singers from the Young Artist program and faculty pianist Liza Stepanova. We presented a diverse program of songs from Wolf to Ullmann and Vaughan Williams to Rebecca Clarke. I performed an all-Italian set, selections from Respighi’s Deità Silvane and Melodia by Franco Alfano. It was a highlight of the program for me.

To round out my time at SongFest, in a last-minute sequence of events, I performed in Paris, Berlin, New York, Amy Burton and John Musto’s curated cabaret concert — during which I, inevitably, did the Charleston.

My best takeaway from SongFest was the friends I made with singers and pianists from across North America. I learned so much from everybody there. Everyone was exceptionally unique in their artistry and had invaluable knowledge to share from their respective musical journeys. Everybody was kind, thoughtful, uplifting, supportive, and encouraging. It was a very inspiring group to be a part of. I feel so proud to know every single one of them. The love of music was palpable every day. I can only hope to continue to enrich that love at home and wherever my singing will take me next.

British pianist Roger Vignoles with participants

Thanks to the support of the Art Song Foundation Canada, I was able to attend the amazing summer program SongFest, held just outside of Los Angeles, California.

SongFest supported me in my studies and personal growth because of the extremely distinguished faculty and guests. I had the opportunity to study privately with soprano Amy Burton, who is on the voice faculties of The Juilliard School, Mannes School of Music, CUNY Graduate Center (DMA program), Chautauqua Institution, and POI in Mercatello sul Metauro, Italy. I had coachings with Javier Arrebola, Liza Stepanova, Martha Guth, and Roger Vignoles, one of the most distinguished pianists of our time. In these coachings, I mostly explored German Lieder and English art songs. Our focus on the interplay among poetry, harmony, and line was profoundly enriching.

I had the incredible opportunity to participate in a masterclass with Grammy Award-winning baritone Lucas Meachem, in which I sang Puccini’s Quando me’n vo, and he gave me guidance in both voice and acting aspects. I had several coachings with composer John Musto, and I was able to work on two of his pieces with him, Maybe (Dove sta amore) and Quiet Song (Quiet Songs). Having the time to study with the composer of the music I am learning and performing was so special and I learned so much about his meaning behind the music. This was a surreal experience that deepened my understanding of his music and enriched my interpretative skills.

I performed some of Cunegonde’s music from Candide in the Leonard Bernstein concert, which was hosted by the composer’s daughter, Jamie Bernstein. Singing her father’s music for her was a once-in-a-lifetime opportunity, and to hear Jamie’s thoughts and take her guidance on this music was simply amazing. Additionally, I attended several lectures and masterclasses with the renowned Graham Johnson, in which he taught us about Schubert, Brahms, Poulenc, and many more. Learning from his profound knowledge of and connection to both music and poetry was absolutely incredible.

This experience was invaluable, and I am so grateful for the opportunity. SongFest is an incredible place to meet and work with such renowned artists, teachers, pianists, singers, and mentors, whom I would love to work with again throughout my career. This generosity has had a significant impact on my academic and artistic journey.

Alannah Beauparlant in performance

At SongFest 2024, I had one of the most artistically nourishing and formative experiences of my life. This is in large part due to the faculty present and the opportunities I was granted. Not only was I surrounded by an inspiring group of young artists, but each day was filled with such wonderful exploration of art song and its forms, poetry, and interpretations.

Graham Johnson is one of the primary reason that SongFest was so wonderful. In his lectures, masterclasses, and private coaching, he showed us what it was to be an intellectual artist — to submit yourself to understanding as fully as humanly possible the music you are performing. His knowledge is extensive, his creativity boundless, and his pedagogy engaging. I was fortunate enough to sing with him in three masterclasses, two private coachings, and his programmed concert that ended his residency. We worked on Brahms, Robert Schumann, Clara Schumann, and Fauré, and my understanding of each of these composers and their pieces has been invariably changed and affected by his words. I very much hope I have the opportunity to meet and work with him again in the future as I consider our work together some of the most exciting of my life.

In addition to Johnson’s residency, I was fortunate enough to work with voice teachers, including Kathryn Cowdrick from the Eastman School of Music and Amy Burton from Julliard. With the guidance and support of these two wonderful teachers, I made enormous progress over the course of three-and-a-half weeks. I had a number of technical breakthroughs, which was incredibly exciting! These teachers supported the artistic work occurring in the masterclasses with tangible advice and guidance, enabling us to realise our artistic and musical visions for our repertoire.

As a Brown Loranger Fellow at SongFest I was afforded many performance opportunities. In addition to the frequent masterclasses, I performed two songs in Graham Johnson’s final concert at the end of his residency, the world premiere of a Harbison piece in a celebration concert for composer, and a Fellows afternoon recital, as well as the annual Paris, Berlin, New York cabaret evening directed and produced by Amy Burton and John Musto.

Performing the world premiere of Hidden Paths by John Harbison will stay with me as an enormous honor. He selected two young singers, a mezzo and soprano, to perform this piece with a string quartet. It was a huge challenge musically and technically, but I am so proud of what we accomplished that day. The concert was live-streamed and watched by Harbison himself.

In the Fellows recital, we were each able to construct our own little program of four songs. It was a really wonderful concert that showcased the interests and musical voices of each of the young artists. I decided to perform four songs by female composers. After having spent three weeks focusing on the canon, I was excited to interpolate lesser-known composers and music that I love. It was a great challenge to prepare different music than we had been generally performing, but coaching and performing with pianist Lisa Stepanova was a real pleasure.

Finally, the cabaret evening is not one I will forget in a hurry. John Musto was on stage at the piano with me, improvising and responding to the dramatic ideas I put forward. We performed Kurt Weill’s Surabaya Johnny. Again, after three weeks of art song, to get to perform an entirely different genre of a piece was liberating. It was also very interesting to apply some of the techniques of analysis and performance we had been discussing to this song. It was a fantastic way to round out the festival.

SongFest has instilled in me a great love of art song that I expect to follow me in my life and career. I approach opera differently now, according to the way I learnt to approach art song. I am very excited to continue to learn repertoire (much of which I noted down through SongFest.) Moreover, as a work-study participant at SongFest, I got an inside look at the intricacies of what it takes to run a festival. I also worked in lovely team of students with whom I became close. In particular, however, I spent SongFest with two other Canadian singers, Mary Jane Egan and Leandra Dahm, with whom I am still in contact and see when I can. In the attached photo, we had just sung in Johnson’s final concert. They really pulled this whole experience together for me. It wouldn’t have been the same without them.

I am so grateful to Art Song Foundation of Canada for their support. I can unequivocally say that SongFest would not have been possible without the generous bursary. I have grown as an artist, met wonderful faculty, and made some lovely friends whom I shall know for a long time. I am deeply grateful for this experience. Thank you.

British pianist Roger Vignoles with participants

Thanks to generosity of the Art Song Foundation of Canada, I had the opportunity to participate in two weeks of the Voice/Piano Duo workshop at Orford Musique in Québec. It was an absolute privilege to work with inspiring artists and learn from four phenomenal professors during these two weeks. Through daily masterclasses, lessons, coachings, and discussions, along with performances in both weeks, we had tons of opportunities to explore the art song repertoire and challenge ourselves.

During the first week, I collaborated with mezzo-soprano Julie Boutrais and tenor Carter Martin, and studied with Liz Upchurch and Wendy Nielsen. I had the opportunity to work on beautiful repertoire frobym Mozart, Fauré, Strauss, and Canadian composer Keith Bissell. We spoke a lot about embodying narrative and how one can effectively convey the poetry. With this mindset, there was so much attention to detail in the subtext and emotion of each piece. It was absolutely inspiring to have the time and space to immerse ourselves in the text with the guidance of Liz and Wendy.

My second week was with Christian Immler and Francis Perron. During this week, I took a deep dive into Schubert’s infamous Winterreise with tenor Henri Ozenne. Working on such a monumental piece in an intensive program with teachers who know the work inside-out was enormously daunting, but even more rewarding. Henri and I were able to really push ourselves and explore the truly sublime work that Winterreise is. Along with this, I was also able to delve into some Fauré mélodie with baritone Jayden Fraser.

Reflecting now on my experience at Orford, I am mostly grateful for the colleagues and friends I met. Experiencing an intensive program with like-minded peers creates such an inspiring bond when, even in such a short amount of time, you can see so much growth and share so much with each other. Being surrounded by so much passion and drive creates something so special that lets us all leave the program with the desire to spread this love of art song and share all the wonderful things we’ve learned and heard. This, paired with awe-inspiring professors, only creates a truly transformative experience. Thank you once again, Art Song Foundation, for supporting my participation in such an experience.

(L–R) Simi Luttrell with Henri Ozenne and Professors Perron and Immler

Thanks to the generous support of the Art Song Foundation of Canada, I was fortunate enough to spend a week at the Orford Music Academy in the Parc national du Mont-Orford in Québec. As a group of six singers and five pianists, we worked closely with pianist Francis Perron and bass-baritone Christian Immler on a large variety of art song repertoire.

Each day, students had two lessons, one with each of our teachers for the week. This allowed us to truly dig into our repertoire and make technical breakthroughs, as well as explore new interpretive ideas. We also had several group masterclasses throughout the week, which served as an excellent space to bring familiar repertoire to the next level.

Our time at Orford culminated in a studio concert in which each duo performed several of the pieces they had worked on during the week. This served as a great opportunity to share our growth over the week with our new friends as well as with the Orford Musique community.

Orford Musique feels as if it came at the perfect point of my musical career. With support and direction from Francis Perron and Christian Immler, I was able to take major steps as a performer and singer, including introducing many new tools to my singing ‘toolbox’. I cannot emphasize enough how much the love of all things art song permeated throughout the week. It was so rewarding to connect and collaborate with other musicians in a shared curiosity and passion for this rich repertoire.

Thank you so much to the Art Song Foundation of Canada’s donors for making this experience possible. It is such a privilege to perform art song and I am incredibly grateful for your support!

ASFC bursary recipients (L–R) Ludovic Rochon, Jayden Fraser, Simi Luttrell, and Isabel Stanyer

I was grateful to have the help of the Art Song Foundation of Canada to attend a music program with amazing teachers as well as students. I discovered this summer at Orford Musique beautiful works of art, people, and musicians who were all working together to push the art form forward. It was a true blessing to be surrounded by such amazing teachers such as Christian Immler, Francis Perron, Wendy Nielsen, and Liz Upchurch, and I find myself lucky that such programs exist and that organizations such as the Art Song Foundation are ready to support young artists to attend these great opportunities. I will take what I have learned this summer into my daily work and try to share the knowledge I have acquired with my fellow musicians and friends. Thank you for your support.

Ludovic Rochon (L); Francis Perron and Christian Immler (R)

In July 2024, I had the opportunity to attend the Art of Song program at Toronto Summer Music, a program dedicated to the study and performance of art song. This experience brought together eight singers and four collaborative pianists from across Canada, the U.S., and Europe, all sharing a deep passion for this unique art form. It was truly special to be surrounded by fellow artists who are equally devoted to art song.

Alla Salakhova with Dame Sarah Connolly

Over the course of two intense weeks, we worked on and performed our repertoire through coachings, masterclasses, and public performances. This included coachings with Steven Philcox, whose insights and guidance were invaluable.

Each week, we had the privilege of working with a different mentor teacher. During the first week, I had the honour of learning from Dame Sarah Connolly, a singer I have admired for many years. Meeting and working with her was a dream come true. I learned so much about legato singing, breath support, and the importance of using voiced consonants to enhance the text.

In the second week, we worked with Joseph Middleton, whose perspective as a collaborative pianist added another valuable layer to our learning. His guidance and enthusiasm allowed me to connect more profoundly with my repertoire, making it an unforgettable experience.

This program was truly extraordinary, and I left inspired and motivated to continue expanding my experience and repertoire of art songs. My love for this art form has flourished even more, and I am very excited to take everything I’ve learned into my future singing and performing.

I am deeply grateful to the Art Song Foundation of Canada for their generosity, which made my participation in this program possible. This experience has been transformative, and I am thankful for all that I have learned.

I’m a mezzo-soprano from Tottenham, Ontario. I graduated from Wilfrid Laurier University this spring with a Bachelor of Music in Voice Performance and I’m beginning my Masters of Opera at the University of Toronto this fall. Thanks to the support of the Art Song Foundation of Canada, I was able to continue my studies over the summer and participate in the inaugural Art of Lied program in Kitchener, Ontario.

This week-long program was spearheaded by bass baritone Daniel Lichti and pianist Laetitia Bougnol. It involved six singers and six pianists, who were paired with each other to work and perform together throughout the week. I had the pleasure of collaborating with the wonderful Becky Reesor. Throughout the week, we performed in daily masterclasses with Dan, who would work with the singers, and Laetitia, who would work with the pianists. I was drawn to this program because of the unique nature of collaboration between the singers and pianists. As a singer, I’ve never participated in a masterclass where the focus was on the collaborative pianist and how the accompaniment works together with the voice. Having the opportunity to participate in masterclasses of this nature allowed me to gain new perspectives and understanding of the songs we were working on.

I was also drawn to this program because it focused solely on the German Lieder repertoire, which I am especially passionate about. We began the week by listening to our incredible instructors, Dan and Laetitia, perform Schubert’s Winterreise. Throughout the week, the students collectively worked on and performed Winterreise — with each pair of performers taking four songs. It was an honour to work on this cycle with Dan and Laetitia, who have performed it many times, recorded it, and are so knowledgeable about Lieder. They had such wonderful insights to offer us and I learned a great deal from them.

In addition to our final performance of Winterreise, we had the opportunity to perform in several house concerts throughout the week. Members of the community generously opened their homes to us, and we performed our own selections of Lieder for them and their guests. For these concerts, Becky and I performed three of Mahler’s Rückert-lieder, which had been a goal of mine to learn for quite some time. It was wonderful to have the opportunity to perform lieder in a more intimate Schubertiade-style setting, which is how it might have been performed at the time it was written!

I had a fulfilling, enriching, and inspiring week in the Art of Lied program and I am grateful for the Art Song Foundation of Canada’s support, which made it possible for me to participate.

Grace Ronan in performance with Becky Reesor

This July, with generous support from the Art Song Foundation of Canada, I was privileged to participate in a brand new program: the Art of Lied Music Festival and Mastercourse, offered by the acclaimed Canadian bass-baritone Daniel Licht  in partnership with collaborative pianist Laetitia Bougnol of France’s Conservatoire de Lyon.

The Art of Lied was a nine-day intensive in which six voice-piano pairs worked together, exploring Franz Schubert’s masterpiece song cycle, Winterreise, in addition to German art song of their own choosing. Applicants had the option to apply as a duo or as individuals. I myself applied as an individual and was paired with a pianist named Natalia Sawyer. Natalia and I met in advance of the program to discuss repertoire options and create a wish list of Winterreise selections, which we submitted to Dan and Laetitia for consideration. Based on each group’s wish list, the song cycle was then divided evenly among the six pairings.

The core schedule for the Art of Lied consisted of two hours of practice time with our partner in the morning at a pre-assigned location in downtown Kitchener, followed by a three-hour masterclass in the afternoon at St. Andrew’s Presbyterian Church (home base), which was open to the public. Masterclass time was split evenly with Dan and Laetitia over the days of the course; three groups would go with Dan to focus on voice performance while three would go with Laetitia to focus on piano. The next day we would switch. This, I thought, was an effective method and it ensured that we were all given an equal amount of one-on-one coaching.

Outside of the core schedule, there were plenty of activities, concerts, and performance opportunities to enrich the experience. At the end of the first day, we all had dinner together and got to know one another. On the second, we watched Dan and Laetitia perform the whole Winterreise cycle in public concert — which really set the bar for us! On Sunday, each group provided a musical offering for worship at a local church and performed at a private Liederabend in the country that same night. A couple days of later, we gave another private Liederabend, this time in a condo overlooking uptown Waterloo. We ended the week with two public recitals by Art of Lied participants. Friday was our collaborative performance of Winterreise and, on Saturday, we performed self-curated selections to feature our favourite German art songs.

I felt musically and emotionally fulfilled by my partnership with Natalia and what we were able to accomplish in our short time together under Dan and Laetitia’s expert coaching. I have many takeaways from my involvement in the Art of Lied. I learned that I can trust my instincts with even greater fidelity. I can allow myself the freedom to fully immerse in the poetry and the stories I create, to let my imagination do the work, and to play with the colours and expressivity of my instrument to an even greater degree. And, perhaps above all else, not to attempt to align myself with others, but to make and defend my own choices — to be my own artist.

With this confidence in my work and skill, I look to the future most optimistically. I love performing. I love story-telling. I love connecting with my audience, and I can’t wait to do more and to keep learning and developing by doing what I love most.

My sincerest thanks to the Art Song Foundation of Canada for assisting me and for assisting so many other young artists on their musical journeys.

(L–R) Laetitia Bougnol, Daniel Lichti, Autum Debassige, and Natalia Sawyer

Thanks to the generosity of the Art Song Foundation of Canada, I had the privilege of participating in the Ukrainian Art Song Summer Institute.

Only a week long, this program was set up to give each participant (8 vocalists and one pianist) a wealth of lessons, masterclasses, and lectures with wonderful faculty to work towards a performance at the Royal Conservatory of Music at the end of the week.

As the only pianist of the group, each day I received one on one coachings from faculty pianists Leanne Regehr and Steven Philcox, as well as voice/piano duo coachings with Benjamin Butterfield and Andrea Ludwig, and Ukrainian diction specialist Dr. Melanie Turgeon. I formed special relationships throughout the week as I was surrounded by invested faculty, like minded participants, and nurturing donors during my time there, and I could not be more grateful to each one them.

This week not only made me a stronger performer and collaborative pianist, but also gave me an understanding and appreciation of the often overlooked Ukrainian Art Song, and context in which this rich repertoire was born.

Once again, thank you to the Art Song Foundation of Canada, as this opportunity was made possible by them.

Isabel Stanyer with pianists Steven Philcox and Leanne Regehr